This image is of book cover(s), and the copyright for it is most likely owned either by the artist who created the cover(s) or the publisher of the book(s). It is believed that the use of low-resolution images of book covers

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Copyright law of the United States
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The Copyright Law of the United States tries to encourage the creation of art and culture by rewarding authors and artists with a set of exclusive rights. Copyright law grants authors and artists the right to make and sell copies of their works, the right to create derivative works. These exclusive rights are subject to a limit, and generally expire 70 years after the authors death. In the United States, any music composed before January 1,1923, is considered public domain. United States copyright law is governed by the Copyright Act of 1976, the United States Constitution explicitly grants Congress the power to create copyright law under Article 1, Section 8, Clause 8, known as the Copyright Clause. The United States Copyright Office handles copyright registration, recording of copyright transfers, US copyright law traces its lineage back to the British Statute of Anne, which influenced the first US federal copyright law, the Copyright Act of 1790. The Copyright Act has been updated several times, including, notably, the Copyright Act of 1976 and this includes incentivizing the creation of art, literature, architecture, music, and other works of authorship. As with many legal doctrines, the effectiveness of law in achieving its stated purpose is a matter of debate. The United States copyright law protects original works of authorship, fixed in a tangible medium including literary, dramatic, musical, artistic and this protection is available to both published and unpublished works. This distinction is called the idea–expression dichotomy, the distinction between idea and expression is fundamental to copyright law. For example, a paper describing a theory is copyrightable. The paper is the expression of the ideas about the political theory. But the theory itself is just an idea, and is not copyrightable, another author is free to describe the same theory in their own words without infringing on the original authors copyright. Although fundamental, the dichotomy is often difficult to put into practice. Reasonable people can disagree about where the unprotectable idea ends and the expression begins. Peter Pan Fabrics, Inc. v. Martin Weiner Corp.274 F. 2d 487, however, compilations of facts are treated differently, and may be copyrightable material. Copyright protection in compilations is limited to the selection and arrangement of facts, the Supreme Court decision in Feist v. Rural clarified the requirements for copyright in compilations. The Feist case denied copyright protection to a white pages phone book, in making this ruling, the Supreme Court rejected the sweat of the brow doctrine

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Copyright infringement
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The copyright holder is typically the works creator, or a publisher or other business to whom copyright has been assigned. Copyright holders routinely invoke legal and technological measures to prevent and penalize copyright infringement, Copyright infringement disputes are usually resolved through direct negotiation, a notice and take down process, or litigation in civil court. Egregious or large-scale commercial infringement, especially when it involves counterfeiting, is sometimes prosecuted via the criminal justice system, estimates of the actual economic impact of copyright infringement vary widely and depend on many factors. The terms piracy and theft are often associated with copyright infringement, the original meaning of piracy is robbery or illegal violence at sea, but the term has been in use for centuries as a synonym for acts of copyright infringement. Theft, meanwhile, emphasizes the potential harm of infringement to copyright holders. However, copyright is a type of property, an area of law distinct from that which covers robbery or theft. Not all copyright infringement results in loss, and the U. S. Supreme Court ruled in 1985 that infringement does not easily equate with theft. The term piracy has been used to refer to the copying, distribution. The practice of labelling the infringement of rights in creative works as piracy predates statutory copyright law. Prior to the Statute of Anne in 1710, the Stationers Company of London in 1557, received a Royal Charter giving the company a monopoly on publication and those who violated the charter were labelled pirates as early as 1603. Copyright holders frequently refer to copyright infringement as theft, courts have distinguished between copyright infringement and theft. For instance, the United States Supreme Court held in Dowling v. United States that bootleg phonorecords did not constitute stolen property, instead, interference with copyright does not easily equate with theft, conversion, or fraud. The Copyright Act even employs a separate term of art to one who misappropriates a copyright. The terms viewjacking and freebooting both have used to describe the unauthorized rehosting of online media, particularly videos. The terms were coined by YouTubers CGP Grey and Brady Haran in the podcast Hello Internet, Grey and Brady came up with the terms in an attempt to find a phrase more emotive than copyright infringement, yet more appropriate than theft. For example, in 2013, the US Army settled a lawsuit with Texas-based company Apptricity, which makes software that allows the army to track their soldiers in real time. In 2004, the US Army paid US$4.5 million for a license of 500 users, while installing the software for more than 9000 users. Major anti-piracy organizations, like the BSA, conduct software licensing audits regularly to ensure full compliance and its just that they want to consume films online and theyre ready to consume films that way and were not necessarily offering them in that way

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The Cartoon History of the Universe
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The Cartoon History of the Universe is a book series about the history of the world. It is written and illustrated by American cartoonist, professor, and mathematician Larry Gonick, the final two volumes, published in 2007 and 2009, are named The Cartoon History of the Modern World volumes one and two. The final volume covers history from the late 18th century to early 2008, each book in the series explains a period of world history in a loosely chronological order. Though originally published in limited runs as comic books, the series is now published in paperback volumes of several hundred pages each. The books have been translated into many languages, including Portuguese, Greek, Czech, while seeking a publisher, Gonick received early support from Jacqueline Kennedy Onassis, who worked as an editor at Doubleday and championed The Cartoon History of the Universes publication. The Cartoon History is illustrated in a cartoon style. Occasionally, as in the sequences on India in the second book and his tribute to Asterix is explicit. Lets get our own comic book, each volume or chapter begins with a one- or two-panel introduction. An Einstein-like Professor prepares to travel in his machine to whatever place or era the chapter is about. The Professor reads a passage from a book, which activates the time machine. For example, the Professor reads a book about dinosaurs to introduce Volume 1 about prehistory and he reads from Hans Zinssers Rats, Lice and History before Volume 19 about the Black Death. This introduction provides a bridge to the action, the narrative of each chapter. Any history book has a point of view, and Larry Gonicks might best be described as humanist, however, it is not written in the style of a didactic textbook. He reports both the greatness of human achievement and acknowledges humanitys savagery, in addition to being a straight history, The Cartoon History helps readers understand historical cause and effect—how the past relates to the present. It explains the motivations behind human beings discoveries, inventions, explorations, wars, triumphs, Gonicks editorial aim seeks to do justice to every point of view. Gonick consistently uses elements of satire and juxtaposition to find the most humor in every situation, for example, one cartoon panel depicts the barbarism of a group of Huns who had elephants herded off a cliff for their sadistic enjoyment. One Hun exclaims with a grin, My emotions are valid. —juxtaposing the Huns brutal barbarism with an anachronistic. Also noteworthy is Gonicks use of caricature, consistently enthusiastic in tone, Gonick uses each collections bibliography to promote historical literacy

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